to have been sensible of the necessity of applying | sical poets, which disclaimed attention to either; but his literary talents to some line, in which he might in the thought and expression itself, the style of Da derive a steadier and more certain recompense, than venant more nearly resembled Cowley's than that of by writing occasional verses to the great, or doing Denham and Waller. The same ardour for what Dry literary drudgery for the bookseller. His own ge- den calls "wit-writing," the same unceasing exercise nius would probably have directed him to the ambi- of the memory, in search of wonderful thoughts tious labours of an epic poem; but for this the age and allusions, and the same contempt for the subafforded little encouragement. Gondibert," the ject, except as the medium of displaying the author's style of which Dryden certainly both admired and learning and ingenuity, marks the style of Davenant, copied, became a martyr to the raillery of the crit- though in a less degree than that of the metaphysiics; and to fill up the measure of shame, the "Pa- cal poets, and though chequered with many examradise Lost" fell still-born from the press. This ples of a simpler and chaster character. Some part last instance of bad taste had not, it is true, yet ta- of this deviation was, perhaps, owing to the nature ken place; but the men ho were guilty of it, were of the stanza; for the structure of the quatrain prothen living under Dryden's observation, and their hibited the bard, who used it, from rambling into manners and habits could not fail to teach him, to those digressive similes, which, in the pindaric stroanticipate the little encouragement they were likely phe, might be pursued through endless ramifications. to afford to the loftier labours of poetry. One only If the former started an extravagant thought, or a line remained, in which poetical talents might exert quaint image, he was compelled to bring it to a point themselves, with some chance of procuring their within his four-lined stanza. The snake was thus possessor's reward, or at least maintenance, and scotched, though not killed; and conciseness being this was dramatic composition. To this Dryden rendered indispensable, a great step was gained tosedulously applied himself, with various success, for wards concentration of thought, which is necessary many years. But before proceeding to trace the to the simple and to the sublime. The manner of history of his dramatic career, I proceed to notice Davenant, therefore, though short lived, and ungrasuch pieces of his poetry, as exhibit marks of his ced by public applause, was an advance towards true earlier style of composition. taste, from the unnatural and frantic indulgence of unrestrained fancy; and, did it claim no other merit, it possesses that of having been twice sanctioned by the practice of Dryden, upon occasions of uncommon solemnity. The Annus Mirabilis" evinces a considerable portion of labour and attention; the lines and versification are highly polished, and the expression was probably carefully corrected. Dryden, as Johnson remarks, already exercised the superiority of his genius, by recominending his own performance as writ ten upon the plan of Virgil; and as no unsuccessful effort at producing those well wrought images and descriptions, which create admiration, the proper object of heroic poetry. The "Annus Mirabilis" may indeed be regarded as one of Dryden's most elaborate pieces; although it is not written in his later, better and most peculiar style of poetry. The victory gained by the Duke of York over the Dutch fleet, on the 3d of June 1665, and his duchess's subsequent journey into the north, furnished Dryden with the subject of a few occasional verses; in which the style of Waller, (who came forth with a poem on the same subject,) is successfully imitated. In addressing her grace, the poet suppresses all the horrors of the battle, and turns her eyes upon the splendour of a victory, for which the kingdom was indebted to her husband's valour, and her "chaste vows." In these verses, not the least vestige of metaphysical wit can be traced; and they were accordingly censured, as wanting height of fancy, and dignity of words. This criticism Dryden refuted, by alleging, that he had succeeded in what he did attempt, in the softness of expression and smoothness of the measure, (the appropriate ornaments of an address to a lady,) and that he was accused of that only The poem first appeared in octavo, in 1667, and was thing which he could well defend. It seems, how- afterwards frequently reprinted in quarto. It was ever, very possible, that these remarks impelled him dedicated to the Metropolis of Great Britain, as rep to undertake a task, in which vigour of fancy and ex-resented by the lord mayor and magistrates. A pression might, with propriety, be exercised. Accord-letter to sir Robert Howard was prefixed to the ingly, his next poem was of greater length and importance. This is a historical account of the events of the year 1666, under the title of Annus Mirabilis," to which distinction the incidents which had occurred in that space gave it some title. The poem being in the elegiac stanza, Dryden relapsed into an imitation of "Gondibert," from which he had departed ever since the " Elegy on Cromwell." From this it appears, that the author's admiration of Davenant The "Annus Mirabilis" being the last poetical had not decreased. Indeed, he, long afterwards, bore work of any importance produced by our author, testimony to that author's quick and piercing imagi- until "Absalom and Achitophel," the reader may nation; which at once produced thoughts remote, here pause, and consider, in the progressive improvenew, and surprising, such as could not easily enter ment of Dryden, the gradual renovation of public into any other fancy. Dryden at least equalled Dave- taste. The irregular pindaric ode was now abannant in his quality; and certainly excelled him in the doned to Arwaker, Behn, Durfey, and a few inferior powers of composition, which are to embody the con- authors; who, either from its tempting facility of ceptions of the imagination; and in the extent of ac-execution, or from an affected admiration of old quired knowledge, by which they were to be enforced times and fashions, still pestered the public with and illustrated. In his preface, he has vindicated the imitations of Cowley. The rough measure of Donne, choice of his stanza, by a reference to the opinion of (if it had any pretension to be called a measure,) Davenant, which he sanctions by affirming, that he was no longer tolerated, and it was expected, even had always, himself, thought quatrains, or stanzas of of those who wrote satires, lampoons, and occasionverse in alternate rhyme, more noble, and of greater al verses, that their rhymes should be rhymes, both dignity, both for sound and number, than any other to the ear and eye; and that they should neither verse in use among us. By this attention to sound adore their mistresses nor abuse their neighbours, and rhythm, he improved upon the school of metaphy-in lines which differed only from prose in the fash Vol. III. p. 101. Davenant alleges the advantages of a respite and pause be tween every stanza, which should be so constructed as to com prehend a period; and adds, nor doth alternate rhyme, by any lowliness of cadence, make the sound less heroic, but rather adapt it to a plain and stately composing of music; and the brevity of the stanza renders it less subtle to the composer, and more easy to the singer, which, in stilo recitative, when the story is lang, is chiefly requisite." Preface to Gondibert. 1 Vol. IX. p. 95. pocin, in which the author explains the purpose of the work, and the difficulties which presented themselves in the execution. And in this epistle, as a contrast between the smooth and easy style of writing which was proper in addressing a lady, and the exalted style of heroic, or at least historical poetry, he introduces the verses to the Duchess of York, already mentioned. ion of printing. Thus the measure used by Roches- " surviving actors were reduced during the commonwealth, have been often detailed. At times they were connived at by the caprice or indolence of their persecutors; but, in general, as soon as they had acquired any slender stock of properties, they were beaten, imprisoned, and stripped, at the pleasure of the soldiery. York, and others, the poet proposed a separate and | from the rulers. The miserable shifts to which the simpler model, more dignified than that of Suckling or Waller; more harmonious in measure, and chaste in expression, than those of Cowley and Crashaw. Much, there doubtless remained, of ancient subtlety and ingenious quibbling; but when Dryden declares that he proposes Virgil, in preference to Ovid, to be his model in the "Annus Mirabilis," it sufficiently implies, that the main defect of the poetry of the last age had been discovered, and was in the way of being amended by gradual, and almost imperceptible degrees. In establishing, or refining, the latter style of writing, in couplet verse, our author found great assistance from his dramatic practice; to trace the commencement of which, is the purpose of the next section SECTION II. It would appear, that Dryden, at the period of the Restoration, renounced all views of making his way in life, except by exertion of the literary talents with which he was so eminently endowed. His becoming a writer of plays was a necessary consequence; for the theatres, newly opened after so long silence, were resorted to with all the ardour inspired by novelty; and dramatic composition was the only line which promised something like an adequate reward to the professors of literature. In our sketch of the taste of the seventeenth century, previous to the Restoration, this topic was intentionally postponed. * The Restoration naturally brought with it a revived taste for those elegant amusements, which, during the usurpation, had been condemned as heathenish, or punished, as appertaining especially to the favourers of royalty. To frequent them, therefore, became a badge of loyalty, and a virtual disavowal of those puritanic tenets, which all now agreed in condemning. The taste of the restored monarch also was decidedly in favour of the drama. At the foreign courts, which it had been his lot to visit, the theatre was the chief entertainment; and as amusement was always his principal pursuit, it cannot be doubted that he often sought it there. The interest, therefore, which the monarch took in the restoration of the stage, was direct and personal. Had it not been for this circumstance, it seems probable that the general audience, for a time at least, would have demanded a revival of those pieces which had been most successful before the civil wars; and that Shakespeare, Massinger, and Fletcher, would have resumed their acknowledged superiority upon the English stage. But as the theatres were re-established and cherished by the immediate influence of the sovereign, and of the court which returned with him from exile, a taste, formed during their residence abroad, dictated the nature of entertainments which were to be presented to them. It is worthy of remark, that Charles took the models of the two grand departments of the drama from two different countries. In the time of James I., and of his successor, the France afforded a pattern of those tragedies which theatre retained, in some degree, the splendour with continued in fashion for twenty years after the Reswhich the excellent writers of the virgin reign had toration, and which were called Rhyming or Heroic adorned it. It is true, that authors of the latter pe- Plays. In that country, however, contrary to the riod fell far below those gigantic poets, who flourish- general manners of the people, a sort of stately and ed in the end of the sixteenth and beginning of the precise ceremonial early took possession of the theaseventeenth centuries; but what the stage had lost tre. The French dramatist was under the necessity in dramatic composition, was, in some degree, sup- of considering less the situation of the persons of plied by the increasing splendour of decoration, and the drama, than that of the performers, who were the favour of the court. A private theatre, called to represent it before a monarch and his court. It the Cockpit, was maintained at Whitehall, in which was not, therefore, sufficient for the author to conplays were performed before the court; and the sider how human beings would naturally express king's company of actors often received command themselves in the predicament of the scene; he had to attend the royal progresses. Masques, a species the more embarrasing task of so modifying their of representation calculated exclusively for the re-expressions of passion and feeling, that they might creation of the great, in whose halls they were ex- not exceed the decorum necessary in the august hibited, were a usual entertainment of Charles and presence of the Grand Monarque. A more effectual his consort. The machinery and decorations were mode of freezing the dialogue of the drama could often superintended by Inigo Jones, and the poetry hardly have been devised, than by introducing into composed by Ben Jonson the laureate. Even Milton the theatre the etiquette of the drawing-room. That deigned to contribute one of his most fascinating etiquette also, during the reign of Louis XIV., was poems to the service of the drama; and, notwith- of a kind peculiarly forced and unnatural. The standing the severity of his puritanic tenets, "Co- romances of Calprenede and Scuderi, those ponmus" could only have been composed by one who derous and unmerciful folios, now consigned to utter felt the full enchantment of the theatre. But all oblivion, were in that reign not only universally this splendour vanished at the approach of civil war, read and admired, but supposed to furnish the most The stage and court were almost as closely united perfect models of gallantry and heroism; although, in their fate as royalty and episcopacy, had the same in the words of an elegant female author, these enemies, the same defenders, and shared the same celebrated writings are justly described as containoverwhelming ruin. "No throne no theatre," seem-ing only "unnatural representations of the passions, ed as just a dogma as the famous "No king no bi-false sentiments, false precepts, false wit, false honshop." The puritans indeed commenced their attack our, false modesty, with a strange heap of improagainst royalty in this very quarter; and, while they bable, unnatural incidents, mixed up with true his impugned the political exertions of prerogative, they tory, and fastened upon some of the great names of assailed the private character of the monarch and antiquity." Yet upon the model of such works his consort, for the encouragement given to the pro-was framed the court manners of the reign of Louis, fane stage, that rock of offence, and stumbling block to the godly. Accordingly, the superiority of the republicans was no sooner decisive, than the theatres were closed, and the dramatic poets silenced. No department of poetry was accounted lawful; but the drama being altogether unhallowed and abominable, its professors were persecuted, while others escaped with censure from the pulpit, and contempt Malone's "History of the Stage." and in imitation of them, the French tragedy, in which every king was by prescriptive right a hero, every female a goddess, every tyrant a fire-breathing chimera, and every soldier an irresistible Amadis; in which, when perfected, we find lofty senti Haud inexperta louquiter. "I have," she continues, “(and yet I am still alive,) drudged through Le Grand Cyrus, in twelve huge volumes; Cleopatra, in eight or ten; Polexander, Ibrahim Clelie, and some others, whose names, as well as all the rest of them, I have forgotten." Letter of Mrs. Chapone to Mrs. Carter. ments, splendid imagery, eloquent expression, sound morality, every thing but the language of human passion and human character. In the hands of Corneille, and still more in those of Racine, much of the absurdity of the original model was cleared away, and much that was valuable substituted in its stead; but the plan being fundamentally wrong, the high talents of those authors unfortunately only tended to reconcile their countrymen to a style of writing, which must otherwise have fallen into contempt. Such as it was, it rose into high favour at the court of Louis XIV., and was by Charles introduced upon the English stage. The favour which heroic plays have lately found upon our theatres," says our author himself, "have been wholly derived to them from the countenance and approbation they have received at court." had not patience for the regular comedy of their neighbours, depending upon delicate turns of expres sion, and nicer delineation of character. The Span ish comedy, with its bustle, machinery, disguise, and complicated intrigue, was much more agreeable to their taste. This preference did not arise entirely from what the French term the phlegm of our national character, which cannot be affected but by powerful stimulants. It is indeed certain, that an Englishman expects his eye, as well as his ear, to be diverted by theatrical exhibition; but the thirst of novelty was another and separate reason, which affected the style of the revived drama. The number of new plays represented every season was incredible; and the authors were compelled to have recourse to that mode of composition which was most easily executed. Laboured accuracy of expresThe French comedy, although Moliere was in the sion, and fine traits of character, joined to an arzenith of his reputation, appears not to have pos- rangement of action, which should be at once pleassessed equal charms for the English monarch, ing, interesting, and probable, requires sefulous The same restraint of decorum, which prevented study, deep reflection, and long and repeated corthe expression of natural passion in tragedy, prohib- rection and revision. But these were not to be ited all indelicate license in comedy. Charles, prob- expected from a play-wright, by whom three draably, was secretly pleased with a system, which mas were to be produced in one season; and in their cramped the effusions of a tragic muse and forbade, place were substituted adventures, surprises, renas indecorous, those bursts of rapturous enthusiasm, counters, mistakes, disguises, and escapes, all easily which might sometimes contain matter unpleasing accomplished, by the intervention of sliding panels, to a royal car. But the merry monarch saw no closets, veils, masques, large cloaks, and dark langood reason why the muse of comedy should be terns. If the dramatist was at a loss for employing compelled to "dwell in decencies for ever," and did these convenient implements, the fifteen hundred not feel at all degraded when enjoying a gross pleas-plays of Lope de Vega were at hand for his instrucantry, or profane witticism, in company with the tion; presenting that rapid succession of events, mixed mass of a popular audience. The stage, and those sudden changes in the, situation of the therefore, resumed more than its original license personages, which, according to the noble biographer under his auspices. Most of our early plays, being of the Spanish dramatist, are the charms by which written in a coarse age, and designed for the amuse- he interests us so forcibly in his plots. These Spament of a promiscuous and vulgar audience, were nish plays had already been resorted to by the audishonoured by scenes of coarse and naked indeli-thors of the earlier part of the century. But under cacy. The positive enactments of James, and the the auspices of Charles II., who must often have grave manners of his son, in some degree repressed witnessed the originals while abroad, and in some this disgraceful scurrility; and, in the common course instances by his express command, translations of events, the English stage would have been grad- were executed of the best and most lively Spanish ually delivered from this reproach, by the increasing comedies. § influence of decency and taste. But Charles II., The favourite comedies, therefore, after the Restoduring his exile, had lived upon a footing of equality ration, were such as depended rather upon the intriwith his banished nobles, and partaken freely and cacy, than the probability of the plot; rather upon promiscuously in the pleasure and frolics by which the vivacity and liveliness, than on the natural exthey had endeavoured to sweeten adversity. To pression of the dialogue; and, finally, rather upon such a court the amusements of the drama would extravagant and grotesque conception of character, have appeared insipid, unless seasoned with the lib-than upon its being pointedly delineated and accuertine spirit which governed their lives, and which rately supported throughout the representation. was encouraged by the example of the monarch. These particulars, in which the comedies of Charles Thus it is acutely argued by Dennis, in reply to the Second's reign differ from the example set by Collier, that the depravity of the theatre, when Shakspeare, Massinger, and Beaumont and Fletchrevived, was owing to that very suppression, which er, seem to have been derived from the Spanish had prevented its gradual reformation. And just so model. But the taste of the age was too cultivated a muddy stream, if allowed its free course will grad- to follow the stage of Madrid, in introducing, or, ually purify itself; but, if dammed up for a season, to speak more accurately, in reviving, the character and let loose at once, its first torrent cannot fail to of the gracioso, or clown, upon that of London.T be impregnated with every impurity. The license Something of foreign manners may be traced in the of a rude age was thus revived by a corrupted one; and even those plays which were translated from the French and Spanish, were carefully seasoned with as much indelicacy and double entendre, as was necessary to fit them for the ear of the wittiest and most profligate of monarchs. Lord Holland's "Life of Lope de Vega," p. 128. formed before him more than once, was of the class of Spanish The Wild Gallant," which Charles commanded to be per comedies. The Maiden Queen," which the witty monarch hon oured with the title of his play, is in the same division. Sir Samue. Tuke's "Adventures of Five Hours," and Crowne's "Sir Courtly Nice," were both translated from the Spanish by the king's express recommendation. T The gracioso, or buflbon, according to Lord Holland, held an Another remarkable feature in the comedies which succeeded the Restoration, is the structure of their plot, which was not like that of the tragedies form-intermediate character between a spectator and a character in ed upon the Parisian model. The English audience * Dedication to the "Indian Emperor," Vol. I. p. 259. In this particular, a watch was kept over the stage. The "Maid's Tragedy," which turns upon the seduction of Evadne by a licentious and profligate king, was prohibited during the reign of Charles IL, as admitting certain unfavourable applications. The moral was not consolatory "on lustful kings, Unlooked for sudden deaths from heaven are sent." Bee Cibber's Apology, p. 199. Waller, in compliment to the court, wrote a fifth act, in which that admired drama is terminated less tragically, It was a part of the duty of the master of the revels to read over, and correct the improprieties of such plays as were to be brought forward. Several instances occur, in Sir Henry Herbert's Office-book, of the exercise of his authority in this point,-See Malone's History of the Stage. ance, of which he forms an essential, but very defective part in the play; interrupting with his remarks, at one time, the perform another. His part was, I presume, partly written, partly extem pore. Something of the kind was certainly known upon our stage. Wilson and Tarleton, in their capacity of clowns, entered freely into a contest of wit with the spectators, which was not at all held inconsistent with their having a share in the perform ance. Nor was tragedy exempted from their interference. Hall, after telling us of a tragic representation, informs us, license assumed by valets and domestics, in the English comedy; a freedom which at no time made a part of our national manners, though something like it may still be traced upon the continent. These seem to be the leading characteristics of the comedies of Charles the Second's reign; in which the rules of the ancients were totally disregarded. It were to be wished that the authors could have been exculpated from a heavier charge, that of assisting to corrupt the nation, by nourishing and fomenting their evil passions, as well as by indulging and pandering to their vices. The theatres, after the Restoration, were limited' to two in number; a restriction perhaps necessary, as the exclusive patent expresses it, in regard of the extraordinary licentiousness then used in dramatic representation; but for which no very good reason can be shown, when they are at least harmless, if not laudable places of amusement. One of these Privileged theatres was placed under the direction of Sir William D'Avenant, whose sufferings in the royal cause merited a provision, and whose taste and talents had been directed towards the drama, even during its proscription. He is said to have introduced moveable scenes upon the English stage; and, without entering into the dispute of how closely this is to be interpreted, we are certain that he added much to its splendour and decoration. His set of performers, which contained the famous Betterton, and others of great merit, was called the Duke's Company. The other licensed theatre was placed under the direction of Thomas Killigrew, much famed by tradition for his colloquial wit, but the merit of whose good things evaporated as soon as he attempted to interweave them with comedy. His performers formed what was entitled the King's Company. With this last theatre Dryden particularly connected himself, by a contract to be hereafter mentioned. None of his earlier plays were acted by the Duke's Company, unless those in which he had received assistance from others, whom he might think as well entitled as himself to prescribe the place of representation. Such was the state of the English drama when Dryden became a candidate for theatrical laurels. So early as the year of the Restoration, he had meditated a tragedy upon the fate of the Duke of Guise; but this, he has informed us, was suppressed by the advice of some friends, who told him, that it was an excellent subject, but not so artificially managed as to render it fit for the stage. It were to be wished these scenes had been preserved, since it may be that the very want of artifice, alleged by the crities of the day, would have recommended them to our more simple taste. We might at least have learned from them, whether Dryden, in his first essay, leaned to the heroic, or to the ancient English tragedy. But the scene of Guise's return to Paris, is the only part of the original sketch which Dryden thought fit to interweave with the play, as acted in 1682; and as that scene is rendered literally from Davila, upon the principle that, in so remarkable an action, the poet was not at liberty to change the words actually used by the persons interested, we only learn from it, that the piece was composed in blank verse, not rhyme. once performed before Charles, by his own com mand. But the author, his piece, and his poetical compliment, were hardly treated in a Session of the Poets, which appeared about 1670. Nor did Sir Robert Howard, his associate, escape without his share of ridicule : "Sir Robert Howard, call'd for over and over, At length sent in Teague with a packet of news, The thief might be punish'd for his Wild Gallant.' In praise of the Countess of Castlemaine." The play itself contained too many of those prize fights of wit, as Buckingham called them, in which the plot stood absolutely still, while two of the char acters were showing the audience their dexterity at repartee. This error furnishes matter for a lively scene in the "Rehearsal." The "Rival Ladies," acted in 1663, and published in the year following, was our author's next dramatic essay. It is a tragi-comedy; and the tragic scenes are executed in rhyme, a style which Dryden anxiously defends, in a dedication addressed to the Earl of Orrery, who had himself written several he roic plays. He cites, against blank verse, the universal practice of the most polished and civilized nations, the Spanish, the Italian, and the French; enumerates its advantages in restraining the luxuriance of the poet's imagination, and compelling him to labour long upon his clearest and richest thoughts: but he qualifies his general assertion by affirming, that heroic verse ought only to be applied to heroic situations and personages; and shows to most ad vantage in the scenes of argumentation, on which the doing or forbearing some considerable action should depend. Accordingly, in the "Rival Ladies," those scenes of the play which approach to comedy, (for it contains none properly comic,) are written in blank verse. The dedication contains two remarkable errors: the author mistakes the title of "Ferrex and Porrex," a play written by Sackville Lord Buckhurst, and Norton; and he ascribes to Shakespeare the first introduction of blank verse. The 'Rival Ladies" seems to have been well received, and was probably of some advantage to the author. In 1663-4, we find Dryden assisting Sir Robert Howard, who must be termed his friend, if not his patron, in the composition of a rhyming play, called the "Indian Queen." The versification of this piece, which is far more harmonious than that generally used by Howard, shows evidently, that our author had assiduously corrected the whole play, though it may be difficult to say how much of it was written by him. Clifford afterwards upbraided Dryden with having copied his Almanzor from the character of Montezuma; and it must be allowed, there is a striking resemblance between these two outra geous heroes, wno carry conquest to any side they choose, and are restrained by no human consideration, excepting the tears or commands of their mistress. But whatever share Dryden had in this In the course of the year 1661-2, our author com-piece, Sir Robert Howard retained possession of the posed the "Wild Gallant," which was acted about February 1662-3, without success. The beautiful Countess of Castlemaine, afterwards Duchess of Cleveland, extended her protection to the unfortunate performance, and received the incense of the author; who boasts, "Posterity will judge by my success, I had the Grecian poet's happiness, Who, waiving plots, found out a better way,Some god descended, and preserved the play." It was probably by the influence of this royal faFourite, that the "Wild Gallant" was more than extemporal comic part seems to have been held essential to matic representation, in most countries in Europe, during the ey of the art. A personification of the same kind is still rebed in the lower kinds of popular exhibitions; and the clowns to the shows of tumbling and horsemanship, with my much-re title-page without acknowledgment, and Dryden nowhere gives himself the trouble of reclaiming his property, except in a sketch of the connection between the "Indian Queen" and "Indian Emperor," where he simply states, that he wrote a part of the former, The "Indian Queen" was acted with very great applause, to which, doubtless, the scenery and dresses contributed not a little. Moreover, it presented battles and sacrifices on the stage, aerial demons singing in the air, and the god of dreams ascending through a trap; the least of which has often saved a worse tragedy. Evelyn, who wit spected friend Mr. Punch, in a puppet-show, bear a pretty close resemblance to the gracioso of the Spaniards, the arlequino of the Italians, and the clown of the ancient English drama.- See Malone's History of the Stage. *Notes on Mr. Dryden's Poems, 1687. nessed this exhibition, has recorded, that the scenes | it possible, to trace instances of his success in galwere the richest ever seen in England, or perhaps elsewhere, upon a public stage. lantry, we may barely notice his intrigue with Mrs. Reeves, a beautiful actress, who performed in many The "Indian Queen" having been thus successful, of his plays. This amour was probably terminated Dryden was encouraged to engraft upon it another before the fair lady's retreat to a cloister, which drama, entitled the "Indian Emperor." It is sel-seems to have taken place before the representation dom that the continuation of a concluded tale is of Otway's "Don Carlos," in 1676.§ Their connecacceptable to the public. The present case was an tion is alluded to in the "Rehearsal," which was exception, perhaps because the connection between acted in 1671. Bayes, talking of Amarillis, actually the "Indian Emperor" and its predecessor was nei-represented by Mrs. Reeves, says, "Aye, 'tis a pretty ther close nor necessary. Indeed, the whole persons little rogue: she's my mistress: I knew her face of the "Indian Queen" are disposed of by the bowl would set off armour extremely; and to tell you and dagger, at the conclusion of that tragedy, ex- true, I writ that part only for her." There follows cepting Montezuma, who, with a second set of char- an obscure allusion to some gallantry of our author acters, the sons and daughters of those deceased in in another quarter. But Dryden's amours were inthe first part, occupies the stage in the second play. terrupted, if not terminated, in 1665, by his marriage. The author might, therefore, have safely left the au- Our author's friendship with Sir Robert Howard, dience to discover the plot of the "Indian Emperor," and his increasing reputation, had introduced him without embarrassing them with that of the "Indian to the family of the Earl of Berkshire, father to his Queen." But to prevent mistakes, and principally, I friend. In the course of this intimacy, the poet should think, to explain the appearance of three gained the affections of Lady Elizabeth Howard, the ghosts, the only persons, (if they can be termed such,) earl's eldest daughter, whom he soon afterwards who have any connection with the former drama, married. The lampoons, by which Dryden's private Dryden took the precaution to print and disperse an character was assailed in all points, allege, that this argument of the play, in order as the "Rehearsal" marriage was formed under circumstances dishonintimated, to insinuate into the audience some con- ourable to the lady. But of this there is no evi ception of his plot. The "Indian Emperor" was dence; while the malignity of the reporters is evi probably the first of Dryden's performances which dent and undisguised. We may, however, believe drew upon him, in an eminent degree, the attention that the match was not altogether agreeable to the of the public. It was dedicated to Anne, Duchess noble family of Berkshire. Dryden, it is true, might, of Monmouth, whom long afterwards our author in point of descent, be admitted to form pretensions styled his first and best patroness. This lady, in to Lady Elizabeth Howard; but his family, though the bloom of youth and wit, and married to a noble-honourable, was in a kind of disgrace, from the part man, no less the darling of his father than of the which Sir Gilbert Pickering and Sir John Driden nation, had it in her power effectually to serve Dry- had taken in the civil wars; while the Berkshire den, and doubtless exerted her influence in procuring family were remarkable for their attachment to the him that rank in public opinion, which is seldom royal cause. Besides, many of the poet's relations early attained without the sanction of those who were engaged in trade; and the alliance of his brolead the fashion in literature. The Duchess of Mon- thers-in-law, the tobacconist and stationer, if it was mouth probably liked, in the "Indian Emperor,' then formed, could not sound dignified in the ears not only the beauty of the numbers, and the fre- of a Howard. Add to this a very important conquently exquisite turn of the description, but also sideration, Dryden had no chance of sharing the the introduction of incantations and apparitions, of wealth of his principal relations, which might otherwhich romantic style of writing she was a professed wise have been received as an atonement for the admirer. The "Indian Emperor" had the most am- guilty confiscations by which it was procured. He ple success; and from the time of its representation, had quarrelled with them, or they with him; his till the day of his death, our author, though often present possession was a narrow independence; rudely assailed, maintained the very pinnacle of and his prospects were founded upon literary sucpoetical superiority, against all his contemporaries. cess, always precarious, and then connected with The dreadful fire of London, in 1666, put à tempo- circumstances of personal abasement, which renrary stop to theatrical exhibitions, which were not dered it almost disreputable. A noble family might permitted till the following Christmas. We may be allowed to regret, that one of their members was take this opportunity to review the effect which the chiefly to rely for the maintenance of her husband, rise of Dryden's reputation had upon his private her family, and herself, upon the fees of dedications, fortune and habits of life. and occasional pieces of poetry, and the uncertain profits of the theatre. While our author was the literary assistant of Sir Robert Howard, and the hired labourer of Herringman, the bookseller, we may readily presume, that his pretensions and mode of living were necessarily adapted to that mode of life, into which he had descended by the unpopularity of his puritanical connections. Even for some time after his connection with the theatre, we learn, from a contemporary, that his dress was plain at least, if not mean, and is pleasures moderate, though not inelegant. But as his reputation advanced, he naturally glided into more expensive habits, and began to avail himself of the license, as well as to partake of the pleasures of the time. We learn, from a poem of his enemy Milbourne, that Dryden's person was advantageous; and that, in the younger part of his life, he was distinguished by the emulous favour of the fair sex.il And although it would not be edifying, were Evelyn's Memoirs, 5th February 1664. + Preface to " King Arthur," Vol. VIII. p. 120. "I remember," says a correspondent of the 'Gentleman's Magazine, for 1745,"plain John Dryden, before he paid his court with success to the great, in one uniform clothing of Norwich drugget. I have cat tarts with him and Madame Reeve at the Mulberry garden, when our author advanced to a sword and a Chadreux wig."-Page 99. He describes him as, "Still smooth, as when, adorn'd with youthful pride, For thy dear sake the blushing virgins died, When the kind gods of wit and love combined, And with large guts thy yielding soul refined."-Vol. VIII. p. 5. Yet, as Dryden's manners were amiable, his reputation high, and his moral character unexceptionable, the Earl of Berkshire was probably soon reconciled to the match; and Dryden seems to have resided with his father-in-law for some time, since it is from the earl's seat of Charlton, in Wiltshire, that he dates the introduction to the “Annus Mirabilis," published in the end of 1667. So honourable a connection might have been ex- "But now if by my suit you'll not be won, |